Getz/Gilberto

1	The Girl from Ipanema / Antonio Carlos Jobim 5:17
2	Doralice / Antonio Carlos Jobim 2:48
3	P'ra Machucar Meu Coracao / Antonio Carlos Jobim 5:09
4	Desafinado / Antonio Carlos Jobim 4:09
5	Corcovado / Antonio Carlos Jobim 4:18
6	So Danco Samba / Antonio Carlos Jobim 3:34
7	O Grande Amor / Antonio Carlos Jobim 5:30
8	Vivo Sonhando / Antonio Carlos Jobim 2:54

Barnes & Noble

Is there any sexier sound than Astrud Gilberto's breathy singing on "Girl from Ipanema"? The runner-up would have to be Stan Getz's equally sultry tenor sax on the very same track. Every note of Getz/Gilberto, is heavy with tropical sensuality. Propelled by a lilting bossa nova beat, the incomparable Getz and Brazilian vocalist and guitarist Joao Gilberto construct songs that sound innocent and coy, restrained and passionate. Brazilian vocalist and guitarist Joao Gilberto's elegantly understated delivery and gentle phrasing play off the charming lack of polish in his wife Astrud's untrained voice, while Getz blows gorgeous clouds of melody about them. Thirty-five years later, however, "Girl" and the companion pieces like "Corcovado," "Desafinado," and "O Grande Amor" ensure that Getz/Gilberto still shimmers -- softly, slowly, gently -- every spin on your stereo. Steve Futterman

All Music Guide

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators -- guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim -- to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history -- "The Girl From Ipanema," a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Danço Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential. Steve Huey